Re: Repeat volta not at beginning of piece doesn't get initial repeat bar line

2014-06-28 Thread Peter Gentry
Funny it works fine for me without the \score. 
I thought this was implied if omitted. 
I did edit the music variable to make sure I was expecting a different output.

regards
Peter Gentry 



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openLilyLib snippets repository renamed

2014-06-28 Thread Urs Liska
Hi to all who have any contact with the openlilylib snippets repository 
on Github,


we have renamed the repository from [openlilylib/]snippets to 
[openlilylib/]openlilylib, for two reasons:


- I have always felt uneasy about the name clash
  with the official LilyPond Snippet Repository, the LSR.
- Actually this repository is less a collection of snippets
  but more a library, and we encourage its use as an
  includable library.
  The name openlilylib (or originally: openLilyLib) was
  originally intended to refer to this repository, only
  over time it became clear that there would be more
  independent repositories under the roof of the
  openlilylib "organization".

According to Github help renaming a repo should not break anything 
because git fetch, git pull, git clone etc. are redirected 
automatically. Nevertheless we strongly advise anybody who is using this 
repository to update to the new location.


- Home: https://github.com/openlilylib/openlilylib
- Clone URL: https://github.com/openlilylib/openlilylib.git
  or g...@github.com:openlilylib/openlilylib.git

Change your "origin" or "upstream" remote to point to the new URL.
I'm not completely sure about forks. So if you have forked the 
"snippets" repository please check for yourself or get back to Janek or 
me directly so we can sort it out manually.
(BTW: Those who have forked the repository but are by now in the team of 
the main repo should consider dropping their fork at this occasion).


I also suggest to rename the local directory name accordingly and update 
any set-up you have done for it (wrapper scripts, Frescobaldi settings).


Best
Urs

--
Urs Liska
www.openlilylib.org

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Re: openLilyLib snippets repository renamed

2014-06-28 Thread Pierre Perol-Schneider
Hi Urs,

2014-06-28 16:41 GMT+02:00 Urs Liska :

>
> I'm not completely sure about forks. So if you have forked the "snippets"
> repository please check for yourself or get back to Janek or me directly so
> we can sort it out manually.
>

It seams that it has been renamed automatically.
Cheers,
Pierre
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Re: Building documentation: bad PNG output

2014-06-28 Thread Aymeric O.

I found where the problem is!

In make/lilypond-vars.make, the options used by LilyPond to generate the 
output files are given there:


## override from cmd line to speed up.
ANTI_ALIAS_FACTOR=2
LILYPOND_JOBS=$(if $(CPU_COUNT),-djob-count=$(CPU_COUNT),)
LANG_TEXIDOC_FLAGS:=$(foreach lang,$(LANGS),--header=texidoc$(lang))
LANG_DOCTITLE_FLAGS:=$(foreach lang,$(LANGS),--header=doctitle$(lang))

LILYPOND_BOOK_LILYPOND_FLAGS=-dbackend=eps \
--formats=ps,png,pdf \
$(LILYPOND_JOBS) \
-dinclude-eps-fonts \
-dgs-load-fonts \
--header=doctitle \
$(LANG_DOCTITLE_FLAGS) \
--header=texidoc \
$(LANG_TEXIDOC_FLAGS) \
-dcheck-internal-types \
-ddump-signatures \
-danti-alias-factor=$(ANTI_ALIAS_FACTOR)

And the problem comes from "-danti-alias-factor=$(ANTI_ALIAS_FACTOR)" 
(=2), which is responsible for the crushed PNG files. I tested it on my 
own scores, and it gives the same result.


So it looks like the /usr/bin/lilypond I built can't handle 
"-danti-alias-factor>=2", but why? I tried this option whith the 
precompiled version of LilyPond, and I get the same PNG files, so it 
must be a system-wide problem, as it was suggested before.


I'm using Zenwalk GNU/Linux, a Slackware-based system.


On 06/27/2014 02:47 PM, James wrote:

Aymeric,

On 27/06/14 13:06, Federico Bruni wrote:

Helping you is a hard job and I've just run out of time.
You are not telling us which source you are using. From a linux 
distro repository? From lilypond git repository?
You should use git and checkout the 2.18.2 branch, otherwise you 
won't get much help from this list probably.


And the logs of 'make doc'?

I give up... Good luck!


:)

Yes diagnosing doc build problems can be very time consuming.

Please make sure that

1. You are following the contributor guide which gives the minimum 
requirements to build documentation successfully:


http://lilypond.org/doc/v2.19/Documentation/contributor-big-page#requirements

and

http://lilypond.org/doc/v2.19/Documentation/contributor-big-page#requirements-for-building-documentation

2. Next, build the latest 2.19 documents from git

http://lilypond.org/doc/v2.19/Documentation/contributor-big-page#summary-for-experienced-developers

At least prove that that works or does not work. I know it does at the 
moment as I build the documentation daily, so if you are having 
problems with 2.19 then it could simply be an evironmental issue than 
a code issue.


If you can build it fine and get your PNG files using 2.19 then use 
the same git repo and use the 2.18 branch and then try.


Then at least we can attempt to help, knowing we are all looking at 
the same code as you.


Regards

James





2014-06-27 13:27 GMT+02:00 Aymeric >:


I'm trying to build 2.18.2, with... LilyPond 2.18.2, so there
should be no problem, and, as I said, I can generate PNG files
from my own scores. I even tried with the file you mentioned:

aymeric[snippets]$ lilypond -dbackend=eps -dno-gs-load-fonts
-dinclude-eps-fonts --png pitches-headword.ly

GNU LilyPond 2.18.2
Processing `pitches-headword.ly '
Parsing...
Interpreting music...[8]
Preprocessing graphical objects...
Finding the ideal number of pages...
Fitting music on 1 page...
Drawing systems...
Layout output to `pitches-headword.eps'...
Converting to PNG...
Layout output to `pitches-headword-1.eps'...
Writing pitches-headword-systems.texi...
Writing pitches-headword-systems.tex...
Writing pitches-headword-systems.count...
Success: compilation successfully completed

And here's the output.



On 06/27/2014 01:18 PM, Federico Bruni wrote:

BTW, what's the purpose of building the current stable doc
(2.18.2)?
Which source are you using?



2014-06-27 13:16 GMT+02:00 Federico Bruni mailto:fedel...@gmail.com>
>>:


Ok, finally I see what's the problem. I never had such a
problem and
I cannot make a guess. You got no error when running make
doc?
You should check the log files in Documentation:

./Documentation/notation.texi2pdf.log
./Documentation/notation.bigtexi.log
./Documentation/notation.splittexi.log
./Documentation/notation.makeinfo.log

That file is ./Documentation/snippets/pitches-headword.ly



It seems that the lilypond version you are using cannot
compile it.
Perhaps a version mismatch?





2014-06-27 13:10 GMT+02:00 Aymeric mailto:ejisn...@gmail.com>
>>:


No, I can see the score.

Here's a screenshot of how it looks like with my build.



On 06/27/2014 01:0

(8va) to extend to barline

2014-06-28 Thread MING TSANG
Hi lilyponders,
How can I extend an ottava to the barline for c''1?  
Any help is appreciated.
Emmanuel,
Ming.

linly code:
\version "2.19.8"
\language "english"
ottavaa = {
\ottava 1
\set Staff.ottavation = \markup \bold \concat {"8" \tiny \raise #0.7
"va" }
}
ottavab = {
\ottava -1
\set Staff.ottavation = \markup \bold \concat{ "8" \tiny "vb" }
}
global = {
\key f \major
\time 4/4
}
right =  {
\global
4 \tuplet 3/2{8  } 4  |%m66
2 
\ottavaa 
bf'''16 a''' f''' c''' bf'' a'' f'' c'' |\break %m67
\ottava 1 
\set Staff.ottavation = #"(8va)" bf'1\fermata  %m68
r2 <>\ottava #0 r8 c''8( g'' f''16 a'') |%m69
bf''4. a'16 bf' a' f' c' f'~4 |%m71
\ottavab
1\arpeggio %m72
}
\score {
<<
\new Staff = "right" \with {
>>

\layout { }
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Re: (8va) to extend to barline

2014-06-28 Thread Phil Holmes
To do this would be poor notation.  Elaine Gould says that the line should be 
terminated after the notehead.

--
Phil Holmes


  - Original Message - 
  From: MING TSANG 
  To: lilypond-user mailinglist 
  Sent: Saturday, June 28, 2014 5:37 PM
  Subject: (8va) to extend to barline


  Hi lilyponders,
  How can I extend an ottava to the barline for c''1?  
  Any help is appreciated.
  Emmanuel,
  Ming.


  linly code:
  \version "2.19.8"
  \language "english"
  ottavaa = {
  \ottava 1
  \set Staff.ottavation = \markup \bold \concat {"8" \tiny \raise #0.7
  "va" }
  }
  ottavab = {
  \ottava -1
  \set Staff.ottavation = \markup \bold \concat{ "8" \tiny "vb" }
  }
  global = {
  \key f \major
  \time 4/4
  }
  right = {
  \global
  4 \tuplet 3/2{8  } 4  |%m66
  2 
  \ottavaa 
  bf'''16 a''' f''' c''' bf'' a'' f'' c'' |\break %m67
  \ottava 1 
  \set Staff.ottavation = #"(8va)" bf'1\fermata %m68
  r2 <>\ottava #0 r8 c''8( g'' f''16 a'') |%m69
  bf''4. a'16 bf' a' f' c' f'~4 |%m71
  \ottavab
  1\arpeggio %m72
  }
  \score {
  <<
  \new Staff = "right" \with {
  >>

  \layout { }
  }


--


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How to place markup and crescendo one after the other?

2014-06-28 Thread Jacques Menu
Hello folks,

I’d like to have « a tempo » and then the cresc sign, instead of them stacked 
vertically.

Sure it’s simple, but can’t find out…

Thanks for your help!

JM

%%
\version "2.18.2"

\relative f, {
\clef "bass"
\time 3/4
\slurUp
bes2.-\markup{\italic"a tempo"} ( \< |
ees,2.\mf \> | bes'2. \< |
\once\numericTimeSignature\time 4/4
c2. \! )
\slurNeutral
}
%%



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Re: How to place markup and crescendo one after the other?

2014-06-28 Thread Knute Snortum
This was the best I could do.  I couldn't get the Y-offset to move the text.

%
\version "2.18.2"

\relative f, {
  \clef "bass"
  \time 3/4
  \slurUp
  \once\override TextScript.X-offset = #-10
  bes2.-\markup{\italic"a tempo"} ( \< |
  ees,2.\mf \> | bes'2. \< |
  \once\numericTimeSignature\time 4/4
  c2. \! )
  \slurNeutral
}


Knute Snortum
(via Gmail)


On Sat, Jun 28, 2014 at 9:41 AM, Jacques Menu  wrote:

> Hello folks,
>
> I’d like to have « a tempo » and then the cresc sign, instead of them
> stacked vertically.
>
> Sure it’s simple, but can’t find out…
>
> Thanks for your help!
>
> JM
>
> %%
> \version "2.18.2"
>
> \relative f, {
> \clef "bass"
> \time 3/4
> \slurUp
> bes2.-\markup{\italic"a tempo"} ( \< |
> ees,2.\mf \> | bes'2. \< |
> \once\numericTimeSignature\time 4/4
> c2. \! )
> \slurNeutral
> }
> %%
>
>
>
> ___
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> https://lists.gnu.org/mailman/listinfo/lilypond-user
>
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Re: How to place markup and crescendo one after the other?

2014-06-28 Thread Thomas Morley
2014-06-28 18:41 GMT+02:00 Jacques Menu :
> Hello folks,
>
> I’d like to have « a tempo » and then the cresc sign, instead of them stacked 
> vertically.
>
> Sure it’s simple, but can’t find out…
>
> Thanks for your help!
>
> JM
>
> %%
> \version "2.18.2"
>
> \relative f, {
> \clef "bass"
> \time 3/4
> \slurUp
> bes2.-\markup{\italic"a tempo"} ( \< |
> ees,2.\mf \> | bes'2. \< |
> \once\numericTimeSignature\time 4/4
> c2. \! )
> \slurNeutral
> }
> %%
>
>
>
> ___
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> lilypond-user@gnu.org
> https://lists.gnu.org/mailman/listinfo/lilypond-user

Hi,

how about:

\version "2.18.2"

atempo = #(make-dynamic-script (markup #:normal-text #:italic "atempo"))

\relative f, {
  \clef "bass"
  \time 3/4
  \slurUp
  %% To avoid too short Hairpin:
  \once \override Hairpin.minimum-length = 12  %% adjust the value
  %% Optional:
  %\once \override DynamicText.self-alignment-X = #-0.5 %% adjust the value
  bes2.(\atempo \< |
  ees,2.\mf \> |
  bes'2. \< |
  \once\numericTimeSignature\time 4/4
  c2. \! )
  \slurNeutral
}

Cheers,
  Harm

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Re: [SPAM] Re: openLilyLib snippets repository renamed

2014-06-28 Thread Urs Liska

Am 28.06.2014 16:47, schrieb Pierre Perol-Schneider:

Hi Urs,

2014-06-28 16:41 GMT+02:00 Urs Liska :



I'm not completely sure about forks. So if you have forked the "snippets"
repository please check for yourself or get back to Janek or me directly so
we can sort it out manually.



It seams that it has been renamed automatically.
Cheers,
Pierre



If that's true that means that anybody who has forked the repository 
should update the remote pointing to the fork and the remote pointing to 
the main repository as well.


Best
Urs


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Re: Re:Variable length bars (Phil Holmes)

2014-06-28 Thread Graham King
On Fri, 2014-06-27 at 08:30 -0500, Andrew A. Cashner wrote:

> Phil,
> 
> You're absolutely right (and I apologize if I suggested you didn't
> know that)---as you say, my terms weren't precise either. In medieval
> and Renaissance theory, C is tempus imperfectum cum prolatione minore,
> "cut C" is tempus imperfectum cum prolatione maiore; in other words,
> both are duple meters, one with the "lesser" note values (a semibreve
> tactus divided into minims), and one with "greater" note values (a
> breve tactus divided into semibreves).
> 
> Here's what Richard Rastall says in *Grove Music Online*, s.v. "Time 
> signature":
> 
> Some signatures are survivors of the system of proportions and
> mensuration signs (see NOTATION, §III, 3(VII), 4(III): [C] s used for
> 4/4 and [cut C] for 2/2 (also called alla breve). [C] s a relic of the
> medieval tempus imperfectum cum prolatione minore, a mensuration where
> each long contained two breves and each breve contained two
> semibreves. The sign [cut C] is now used to indicate quick duple time,
> the beat falling on the minim rather than the crotchet. In medieval
> terms the tactus in [C] time fell on the semibreve; in [cut C] time it
> fell on the breve.
> 
> Best,
> Andrew
> 
> On Fri, Jun 27, 2014 at 8:13 AM, Phil Holmes  wrote:
> >> With respect and collegiality, I just wanted to clarify that
> >> Dowland's original time signatures are C and "cut C": these
> >> mensural time signatures only look like modern 4/4 or 2/2, but
> >> they are not the same. The C generally means that each tactus
> >> or metrical group is made up of two minims (modern half
> >> notes), and the cut C means that each tactus is made up of two
> >> semibreves (modern whole notes). But in this case I think the
> >> C meter just means, "the pulse moves in minims"--it does not
> >> indicate a regular grouping of beats the way a modern meter
> >> does. Downand's bar lines, it seems to me, indicate musical
> >> and poetic phrases, not a metrical pattern.
> >>
> >>
> >> I know there are wide disagreement about this, but in
> >> transcribing for modern performers, I think one should render
> >> the original into basic modern notation--that is, notation
> >> that will not surprise modern performers--while doing the
> >> least violence to the original. I don't think you gain any
> >> advantage in a piece like this from having mixed meters, and
> >> certainly not from having two simultaneous meters.
> >>
> >>
> >> In this case, I would recommend transcribing the piece in 4/2,
> >> with perhaps an odd 2/2 bar where necessary. Even if this
> >> means that a phrase ends in the middle of a bar, I think you
> >> can trust modern performers to recognize that and not
> >> automatically put a strong downbeat on the first beat of every
> >> bar. If you think about how the piece should sound, sensitive
> >> performers will probably produce similar results regardless of
> >> where you put the bar lines.
> >>
> >>
> >> Best,
> >> Andrew Cashner
> >>
> >
> > To be honest, I was aware that 4/2 and 2/2 are not the correct descriptions
> > of the mensuration signs in the Dowland piece: however, to render them in
> > LilyPond you would use these time signatures in a mensural context.
> >
> > Not convinced that C and cut C are correct either: probably the best
> > description for the "C" would be tempus imperfectum and the "cut C" alla
> > breve?
> >
> > --
> > Phil Holmes

In the hope that this will provide some helpful references for others
following this thread...

Willi Apel's book is still a reliable reference for renaissance ("white
mensural") notation.  It is available online at
https://archive.org/details/notationofpolyph1953apel and elsewhere.

In the following summary, the original note values are used (breve,
semibreve, minim, semiminim, etc.).  Modern editions often half, or even
quarter, these values.

The mensuration sign C indicates "tempus imperfectum cum prolatione
imperfecta" which is to say that the breve is "imperfect" (divided into
two, not three, semibreves) and the semibreve is also imperfect (divided
into two minims).  The tactus (a constant pulse of about 50 b.p.m.
pervading renaissance music) falls on the semibreve.

Cut-C is a sign of "proportion" indicating, at least before Josquin's
period, that the tactus falls on the breve (hence "alla breve"), and so
the music is effectively twice as fast as the same notes rendered in
"C".  Both the tempus and prolation remain imperfect.  By Dowland's era,
however, cut-C was used interchangeably with C, and any effect of this
proportion needs to be deduced from the context.

In the case of "Come ye heavy states of night", for which a facsimile is
available at http://imslp.org/wiki/Special:ImagefromIndex/278945 , the
canto and tablature are presented in score format, with the canto in C
and the tablature in cut-C, so we can infer that these signs are meant
to be equivalent.  As for bar lines, which are notably absent from the
alto, tenor and bass parts, th

Re: (8va) to extend to barline

2014-06-28 Thread Pierre Perol-Schneider
Hi Ming,

2014-06-28 18:37 GMT+02:00 MING TSANG :


> Any help is appreciated.
>

Please provide compilable example.
This should do what you're looking for :


{

  \once\override Staff.OttavaBracket.minimum-length = #30

  \once\override Staff.OttavaBracket.extra-offset = #'(30 . 0)

  \ottava #1

  c''1

  \ottava #0

}

%%%


Cheers,

Pierre
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Re: (8va) to extend to barline

2014-06-28 Thread MING TSANG
Sorry! I did a cut & paste in my previous email. Here is a compilable .ly file.
Phil: thank you for the info per Elaine Gould.
Pierre:  Where do I put your code?  I put if before line 26 and it is not what 
I expected.
Emmanuel,
Ming.


On Saturday, June 28, 2014 3:55:01 PM, Pierre Perol-Schneider 
 wrote:
 


Hi Ming,



2014-06-28 18:37 GMT+02:00 MING TSANG : 

 

Any help is appreciated.

Please provide compilable example.

This should do what you're looking for :


{ 
  \once\override Staff.OttavaBracket.minimum-length = #30
  \once\override Staff.OttavaBracket.extra-offset = #'(30 . 0)
  \ottava #1
  c''1
  \ottava #0
}
%%%

Cheers,
Pierre\version "2.19.8"
\language "english"
ottavaa = {
  \ottava 1
  \set Staff.ottavation = \markup \bold \concat {"8" \tiny \raise #0.7
"va" }
}

ottavab = {
  \ottava -1
  \set Staff.ottavation = \markup \bold \concat{ "8" \tiny "vb" }
}
global = {
  \key f \major
  \time 4/4
}

right =  {
  \global
  4 \tuplet 3/2{8  } 4  |%m66
  2 
  \ottavaa  
bf'''16 a''' f''' c''' bf'' a'' f'' c'' |\break %m67
  
  
  \set Staff.ottavation = #"(8va)" bf'1\fermata  %m68
  
  r2 <>\ottava #0  r8 c''8( g'' f''16 a'') |%m69

  bf''4. a'16 bf' a' f' c' f'~4 |%m71
  \ottavab
  1\arpeggio %m72
}


\score {
  <<
 \new Staff = "right" \with {
  } \right
  >>
  \layout { }
}

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Re: (8va) to extend to barline

2014-06-28 Thread Pierre Perol-Schneider
2014-06-28 23:35 GMT+02:00 MING TSANG :


> Pierre:  Where do I put your code?  I put if before line 26 and it is not
> what I expected.
>

With these settings :
...
\once\override Staff.OttavaBracket.minimum-length = #10

\once\override Staff.OttavaBracket.extra-offset = #'(10 . 0)




See enclosed what I get.

What did you expect ?
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Re: (8va) to extend to barline

2014-06-28 Thread MING TSANG
Pierre:
Thank you very much. It is exactly the same as the score sheet I am trying to 
transcribe.
Emmanuel,
Ming.


On Saturday, June 28, 2014 5:43:38 PM, Pierre Perol-Schneider 
 wrote:
 


2014-06-28 23:35 GMT+02:00 MING TSANG :

 
Pierre:  Where do I put your code?  I put if before line 26 and it is not what 
I expected.
 

With these settings :

...
\once\override Staff.OttavaBracket.minimum-length = #10 
\once\override Staff.OttavaBracket.extra-offset = #'(10 . 0)


See enclosed what I get.
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Re: Weird spacing related to barlines

2014-06-28 Thread Keith OHara
Phil Holmes  philholmes.net> writes:

> Can anyone explain what's going on here?
> 
> \score {
>  \new MensuralStaff {

>  \layout {
>   \context {
>   \Score
>   \override SpacingSpanner #'spacing-increment = #0
>   \remove "Default_bar_line_engraver"
>  }}}

The "Default_bar_line_engraver" works oddly, in that it turns bar lines
on and off.  Without it, when you say \bar"|" in the music, you start
getting barlines after every note, and a double barline after every
measure.  We don't see them because the MensuralStaff sets barlines 
to be invisible.

\override SpacingSpanner #'spacing-increment = #0.0
asks for zero space between notes, but there is no ragged-right,
so LilyPond tries to stretch out the lines, and the space between
barlines is the only space that can stretch.

The barlines use a different setting for spacing
\override BarLine #'space-alist #'first-note = #'( fixed-space . 0.0)
for historical reasons, and unfortunately.

If you don't have measures, maybe leave "Default_bar_line_engraver" 
in place, and just stop the measure-counting with
  \context {\Score timing = ##f  }
and put \bar"" wherever a break would be allowable.


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